文學(xué)名詞解釋

1、America n Dream: America n dream means the belief that every one can succeed as long as he/she works hard eno ugh. It usually imp lies a successful and satisfy ing life. It usually framed in terms of American capitalism （資本主義）,its associated purported meritocracy,（知識(shí)界精華）and the freedoms guaranteed b

2、ythe U.S.Transcendentalism 超驗(yàn)主義:Transcendentalism was a group of new ideas in literature, religio n, culture and p hilos ophy that emerged in in the early to middle 19th cen tury. Tran sce nden talists sp oke for cultural rejuve nati on and aga inst the materialism of America n society. It p laced e

3、mp hasis on sp irit, or the Over soul, as the most imp orta nt thi ng in the world. It stressed the imp orta nee of i ndividual and offered a fresh p erce pti on n ature ad symbolic of the sp irit of God. Prominent tran sce nden talists in cluded Ralph Waldo Emers on and Henry David Thorough.America

4、n Naturalism 自然主義：American naturalism was a new and harsher realism. The n aturalists attem pt to achieve extreme objectivity and frankn ess, p rese nting characters of low social and econo mic classes who were determ ined by en vir onment and heredity. It emp hasized that the world was amoral, the

5、men and wome n had no free will, that lives were con trolled by heredity and en vir onment, that the dest iny of huma nity was misery in life and oblivio n in death. The p essimism and determi nistic ideas n aturalism p ervaded the works of such America n writers as Ste phen Crane and Theodore Dreis

6、er.The Gilded Age 鍍金時(shí)代:the Gilded Age refers to the era of rap id econo mic and popu lati on growth in the duri ng the post- and p ost- of the late . The term Gilded Age was coined by and in their 1873 book, .The Gilded Age is most famous for the creati on of a moder n in dustrial economy. The end o

7、f the Gilded Age coin cided with the , a dee p dep ressi on. The dep ressi on lasted un til 1897 and marked a major p olitical realig nment in the . After that came the .The Lost Gen erati on: The Lost Gen erati on is a group of exp atriate America n writers residi ng p rimarily in duri ng the 1920s

8、 and 1930s. The group was give n its n ame by the America n writer Gertrude Stei n, who used“ a lost gen eratio nto exp atriate America ns bitter about their World War I exp erie nces and disillusi oned with America n society. Hemin gway later used the p hrase as an ep igra ph for his no vel The Sun

9、 Also Rises. It con sisted of many in flue ntial America n writers, in clud ing Ern est Hemin gway, F. Scott Fitzgerald, William Carlos Williams and Archibald MacLeish.The Lost Gen erati on迷惘的一代）： The lost gen erati on is a term first used by Stein to describe the p ost-war I gen erati on of America

10、 n writers:me n and wome n haun ted by a sense of betrayal and emptin ess brought about by the destructive ness of the war.2full of youthful idealism, these in dividuals sought the mea ning of life, drank excessively, had love affairs and created some of the fin est America n literature to date.3the

11、 three best-k nown rep rese ntatives of lost gen erati on are F.Scott Fitzgerald, Hemin gway and Joh n dos Passos.Beat Gen eratio n 垮掉的一代：group of America n writers of the 1950s whose writi ng expr essed profound dissatisfacti on with contemporary America n society and en dorsed an alter native set

12、of values. The term sometimes is used to refer to those who embraced the ideas of these writers. The Beat Gen erati ons best-k nown figures were writers Alle n Gin sberg and Jack Kerouac.The Beat Generation垮掉的一代）:The members of The Beat Generation were new bohemia n libert in es. Who en gaged in a s

13、pontan eous, sometimes messy, creativity.2 The Beat writers p roduced a body of writte n work con troversial both for its advocacy of non-c on formity and for its non-conforming style.3 the major beat writings are Allen Ginsberg s howl.Howl became the manifesto of The BeatGen erati on.Free Verse 自 由

14、詩(shī)體:free verse is poetry that has an irregular rhythm and line len gth and that atte mpts to avoid any p redeterm ined verse structure, in stead, it uses the cade nces of n atural sp eech. While it alter nates stressed and un stressed syllables as stricter verse form do, free verse dose so in a loose

15、r way. Walt Whitma n is an exa mple of free verse.Confessional Poetry 自白詩(shī):it is a type of modern poetry in which poets speak with openn ess and frankn ess about their own lives, such as in p oems about ill ness, sexuality and des ponden ce. Robert Lowell, Sylvia P lath and Alle n Gin sberg and Theod

16、ore Roethke are the most imp orta nt America n p oets.Imagism 意象派：The 1920s saw a vigorous literary activity in . In poetry there app eared a str ong reacti on aga inst Victoria n p oetry. Imagists p laced p rimary relia nee on the use of p recise, shar p images as a means of p oetic expr essi on an

17、d stressed p recisi on in the choice of words, freedom in the choice of subject matter and form, and the use of colloquial la nguage. Most of the imagist p oets wrote in free verse, using such devices as ass onance and alliteratio n rather tha n formal metrical schemes to give structure to their po

18、etry.The moveme nt which had these as its aims is known in literary history as Imagism. Its p rime mover was Ezra Pound.Irony: a con trast or an incon gruity betwee n what is stated and what is really meant, or betwee n what is exp ected to happen and what actually happens in drama and literature. T

19、here are types of ir ony: verbal irony, dramatic irony and irony of situati on. Ir ony of situati on typ ically takes the form of a discre pancy betwee n app eara nee and reality, or betwee n what a character exp ects and what actually happens. Both verbal and irony of situati on share the suggesti

20、on of a con cealed truth con flict ing with surface app eara nces.Allusio n: A refere nee to a person, a p lace, an eve nt, or a literary work that a writer exp ects the reader to recog nize and respond to. An allusi on may be draw n from history, geogra phy, literature, or religio n.Satire 諷朿 : A k

21、ind of writi ng that holds up to ridicule or contempt the weak nesses and wron gdo ings of in dividuals, gro ups, in stitutio ns, or huma nity in gen eral. The aim of satirists is to set a moral sta ndard for society, and they attem pt to p ersuade the reader to see their point of view through the f

22、orce of laughter.Symbol: A symbol is a sig n which suggests more tha n its literal meaning. In other words, a symbol is both literal and figurative. A symbol is a way of telli ng a story and a way of conveying meaning. The best symbols are those that are believable in the lives of the characters and

23、 also convincing as they convey a meaning bey ond the literal level of the story. If the symbol is obscure or ambiguous, the n the very obscurity and the ambiguity may also be part of the mea ning of the story.Stream of consciousness意識(shí)流)(or interior monologue);ln literary criticism, Stream of con sc

24、ious ness deno tes a literary tech nique which seeks to describe an in dividual s point of view by giving the writte n equivale nt of the character p rocesses. Stream of con scious ness writi ng is stron gly associated with the modernist moveme nt. Its in troducti on in the literary con text, tran s

25、ferred from p sychology, is attributed to May Sin clair. Stream of con scious ness writi ng is usually regarded as a sp ecial form of in terior mono logue and is characterized by associative lea ps in syn tax and pun ctuatio n that can make the p rose difficult to follow,trac ing as they do a charac

26、ter s fragmentary thoughts and sensory feelings.famous writers to employ this tech nique in the en glish Ian guage in clude James Joyce and William Faulk ner.American realism :(xx 現(xiàn)實(shí)主義)Realism was a reaction againstRoma nticism and p aved the way to Moder ni sm; 2).Duri ng this p eriod a new gen era

27、ti on of writers, dissatisfied with the Roma ntic ideas in the older gen erati on, came up with a new insp irati on. This new attitude was characterized by a great in terest in the realities of life. It aimed at the in terpretatio n of the realities of any asp ect of life, free from subjective p rej

28、udice, idealism, or roma ntic color. I nstead of thinking about the mysteries of life and death and heroic in dividualism, people atte ntio n was now directed to the in terest ing features of everyday existe nee, to what was brutal or sordid, and to the open p ortayal of class struggle;3) so writers

29、 bega n to describe the in tegrity of huma n characters react ing un der various circumsta nces and picture the pion eers of the far west, the new immigra nts and the struggles of the work ing class; 4) Mark Twai n Howells and Henry James are three leadi ng figures of the America n Realism.Local Col

30、orism侈 土文學(xué)):Gen erally sp eak ing, the writ ings of local colorists are concerned with the life of a small, well-defi ned regi on or provin ce. The characteristic sett ing is the isolated small tow n. 2) Local colorists were con sciously no stalgic historia ns of a vani shi ng way of life, recorders

31、 of a p rese nt that faded before their eyes. Yet for all their sen time ntality, they dedicated themselves to minu tely accurate descri pti ons of the life of their regi ons, they worked from personal exp erie nee to record the facts of a local en vir onment and suggested that the n ative life was

32、sha ped by the curious con diti ons of the local. 3) major local colorists is Mark Twain.A Jazz age爵士時(shí)代)：The Jazz Age describes the period of the 1920s and 1930s, the years betwee n world war I and world war II. P articularly in . With the rise of the great dep ressi on, the values of this age saw m

33、uch decli ne. Perha ps the most rep rese ntative literary work of the age is America n writer Fitzgerald e Great Gatsby. Highlight ing what some describe as the decade nee and hed oni sm, as well as the growth of in dividualism. Fitzgerald is largely credited with coi ning the term Age”.Femi nism（女權(quán)

34、主義）:Femi nisim in corporates both a doctri ne of equal rights for wome n and an ideology of social tran sformati on aiming to create a world for wome n bey ond sim pie social equality.2 in gen eral, femi nism is ideology of wome n liberati on based on the belief that wome n suffer injustice because

35、of their sex. Un der this broad umbrella various femi nisms offer differi ng an alyses of the causes, or age nts, of female opp ressi on.3 defi niti ons of feminism by femini sts tend to be sha ped by their trainin g, ideology or race. So, for exa mp le, Marxist and socialist femi ni sts stress the

36、in teracti on within femi nism of class with gen der and focus on social disti ncti ons betwee n men and wome n. Black femini sts argue much more for an in tegrated an alysis which can uni ock the mult iple systems of opp ressi on.Hemingway Code Hero（xx式 xx）: Hemingway Code Hero ,also called code he

37、ro, is one who, woun ded but stro ng more sen titive, enjoys the p leasures of life（ sex, alcohol, sp ort） in face of ruin and death, and maintains, through some no ti on of a code, an ideal of himself.2 barnes in the sun also Rises, henry in a Farewell to arms and san tiago in the old man and the s

38、ea are typ ical of Hemin gway Code HeroImp ressi on ism（E 卩象主義）:Im pressi on ism is a style of painting that gives the imp ressi on made by the subject on the artist without much atte nti on to details. Writers acce pted the same conv icti on that the personal attitudes and moods of the writer were

39、legitimate eleme nts in dep icti ng character or sett ing or actio n.2briefly, it is a style of literature characterized by the creati on of gen eral imp ressi ons and moods rather that realistic mood.mult ip le p oi nts of view （多視角）： Mult ip le Point of View: It is one of the literary tech niq ues

40、 William Faulk ner used, which shows within the same story how the characters reacted differe ntly to the same person or the same situati on. The use of this tech nique gave the story a circular form wherein one eve nt was the cen ter, with various p oi nts of view radiati ng from it. The multi pie

41、p oi nts of view tech nique makes the reader recog nize the difficulty of arriv ing at a true judgme nt.Confessional poetry : Confessional poetry emphasizes the intimate, and sometimes un flatteri ng, in formatio n about details of the po ets person al life, such as in p oems about ill ness, sexuali

42、ty, and des ponden ce. The con fessi on alist label was app lied to a nu mber of p oets of the 1950s and 1960s. Joh n Berryma n, Alle n Gin sberg, Robert Lowell, Sylvia Plath, Theodore Roethke, Anne Sexto n, and William De Witt Sno dgrass have all bee n called Con fessi onal Poets. As fresh and diff

43、ere nt as the work of these po ets app eared at the time, it is also true that several p oets prominent in the canon of Wester n literature, p erha ps most no tably Sextus Prop ertius and P etrarch, could easily share the label of con fessi on al with the con fessi onal po ets of the fifties and six

44、ties.Dramatic Conflict： At least not the special kind of conflict that drives plays, the gas that fuels the dramatic engine. Argume nts in real life are usually circular - n obody gets any where, exce pt a little steams bee n blow n off. And theyre bori ng for every one exce pt the folks doing the y

45、elli ng.Dramatic Con flict draws from a much dee per vein, rooted in the Subtext of your cen tral characters. Its drive n by fun dame ntally opposing desires.C on flict is a n ecessary eleme nt of ficti on al literature. It is defi ned as the pr oblem in any pi ece of literature and is ofte n classi

46、fied accord ing to the n ature of the p rotag onist or an tag onist。Con fessi onal p oetry（自白派詩(shī)歌）:desig nates a type of n arrative and lyric verse, given impetus by Robert Lowell s Life Studies, thttltofe faeatsswdintimate mental and physical experiences of the poet s own life. Confessionwas writte

47、n in rebelli on aga inst the dema nd for imperson ality by T. S. Elliot and the New Criticism. The rep rese ntative writers of con fessi onal school in clude Robert Lowell, Anne Sext on and Sylvia P lath and so on.無(wú)韻詩(shī)：blank verse 一譯素體詩(shī)。英語(yǔ)xx的一種。每行用五個(gè)長(zhǎng)短格音十個(gè)音節(jié)組成，每首行數(shù)不拘，不壓韻。自由詩(shī)： free verse詩(shī)歌的一 種。語(yǔ)言不講究格律

48、，詩(shī)的段數(shù)、行數(shù)、字?jǐn)?shù)也沒(méi)有固定規(guī)格，但要有節(jié)奏， 押大致相近的韻。XX詩(shī)人XX為創(chuàng)始人。詩(shī)歌賞析2. In a Stati on of the Metro is an Imagist p oem by Ezra Pound. The p oem atte mpts to describe Poun ds exp erie nee upon visit ing an un dergro und metro stati on in P aris in 1912, and Pound suggested that the faces of the in dividuals in the metro

49、 were best put into a p oem not with a descri pti on but with an equati on. Because of the treatme nt of the subjects app eara nee by way of the p oems own visuality, it is considered a quintessential精粹的 Imagist text. The poem is essentially a set of images that have unexp ected like ness and convey

50、 the rare emoti on that Pound was exp erie ncing at that time. Arguably the heart of the p oem is n ot the first line, nor the sec ond, but the men tal p rocess that links the two together. I n a p oem of this sort, as Pound explain ed, one is trying to record the p recise in sta nt whe n a thi ng o

51、utward and objective tran sforms itself, or darts into a thi ng in ward and subjective. This darting takes place between the first and second lines. The pivota關(guān)鍵的 semicolon has stirred debate as to whether the first line is in fact subord in ate to the sec ond or both lines are of equal, i ndependent imp orta nee. Pound con trasts the factual, mundane image that he actually wit nessed with a meta phor from n atur